Nadja-Léona concept and direction by Jude Walton with Finnish based performer Gesa Piper, dancers/choreographers: Michaela Pegum, Jo White, Hillary Goldsmith and Arabella Frahn-Starkie, composer/pianist Kym Dillon and artist Eliza Dyball.
Nadja-Léona is an activated installation/ performance that investigates the writing of André Breton bringing a contemporary feminist perspective to his iconic text of Nadja. It re-asks Breton’s question to Nadja ‘Who are you?’ to which she replied ‘I am the soul in limbo’.
Breton met Nadja, whose real name was Léona Delcourt, on the streets of Paris and began an affair that lasted nine days.
While Breton’s book, and the places he and Nadja visited form the initial stimulus for the work it is not a simple narrative of events but extends into a wider exploration of the unconscious activity of the mind and the intellectual, literary and psychological concerns of Surrealism.
Jude is the recipient of the 2018 Georges Mora Fellowship at the State Library of Victoria that is providing support for the development and performance of Nadja-Léona. https://artguide.com.au/jude-walton
Wed 28 Nov, 6:00pm to 7:30pm (Preview)
Thu 29 Nov, 6:00pm to 7:30pm (Opening night)
Fri 30 Nov, 6:00pm to 7:30pm
Sat 01 Dec, 3:00pm to 4:30pm (followed by a Q&A with artistic director Jude Walton)
Sat 01 Dec, 6:00pm to 7:30pm
Adult $30 / Concession $20
Bookings are essential as seating is limited book here now
Seismic Field examines the relationship between geophysical forms and consciousness. Geurts intervenes the processes of scanning, polaroid photography and 3D mapping as site actions, disrupting the form and colour field, blurring the lines between geology and technological praxis. The works investigate seismic phenomena and cultural context, amplifying their perceptual and physical thresholds.
Seismic Field draws together site and conceptual works from diverse locations around the world, from the edge of tectonic plates colliding in Italy, exposed faultlines from Bendigo, to meridians and time zones shaped by geopolitical forces. This exhibition navigates archaeological objects that have been forged in the cultural strata.
Image: 'Greenwich Mean Time -0 degrees, International Date Line -180 Degrees', 2018, solar panel, neon
The exhibition brings together both Indigenous and non-Indigenous artists as they explore their connection to protecting land and country. Curated by artists Robert Fielding, Vincent Namitjira and Anwar Young.
Nations Party (2016) is a series of six collaged works on paper which were produced through the Australian Print Workshop’s research project titled ANTIPODES. Hosted by Cambridge University in the United Kingdom, Brook researched the Archaeological and Anthropological collections of Cambridge University and the print collections of the British Museum.
The series collages found imagery and text over re-prints of British caricaturist and printer James Gillray. The process of collaging and assemblage is a constant within Brook Andrew’s practice, he interweaves narratives and employs symbolic references to ultimately place the dominate story and colonial lens under re-examination.
Image: Rethinking Foreign Prosody Intelligence, 2016. From the series Nation's Party.
This year we are paying homage to the Balzac Café - Georges’ first famous Melbourne restaurant. Our much anticipated silent auction and raffle return - plus we have some surprises planned.
Dress code: Trés chic! Trés Français! Drinks and canapés provided.
RSVP essential by Friday 12 October to email@example.com
SIGNIFICANT VELOCITIES | Jeremy Bakker, Catherine Evans, David Haines & Joyce Hinterding, Jacob Kirkegaard & Zoe Scoglio.
OPENING THURSDAY 4 OCTOBER 5-7PM
Significant Velocities considers the importance of felt and experiential knowledge by exploring how art might enable new understandings of the immense and oftentimes intangible qualities of the geological. Five artists consider the scale and expansiveness of our planet’s velocities, timeframes, materialities and energies, and translate these abstractions into terms that can be felt. The resulting works provide keys that open up different way of understanding the realities of Earth's rotational speeds, mineral energies and deep time.
Images: Jacob Kirkegaard, Sabulation (still), 2010, 30-minute sound and video work from field recordings of Singing Sands. Recorded in Oman 2009. Photo by Jacob Kirkegaard.
The final exhibition at Ten Cubed for 2018 is The Language of Skulls by Brook Andrew. A Melbourne-based interdisciplinary artist and Georges Mora Fellow, Brook Andrew examines dominant narratives, often relating to colonialism and modernist histories.
Through museum and archival interventions and curatorial projects, he aims to make forgotten stories visible and offer alternative choices for interpreting history in the world today. Drawing inspiration from vernacular objects and the archive he travels internationally to work with communities and various private and public collections.
He is the Artistic Director of the 2020 Biennale of Sydney.
Brook Andrew is represented by Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels.